Tuesday, March 28, 2017
THE LONG GOODBYE courtesy Vilmos Zsigmond zooming in and out of the frame there’s a harshness to the look of SPLIT courtesy DP Paul Lohmann (who also shot NASHVILLE for Altman; later credits include HIGH ANXIETY, TIME AFTER TIME and MOMMIE DEAREST), a scorched out mid-70s L.A. setting, the stoner vibe of the earlier film turning into a harsher cigarette smoke hanging in the air and everyone seems hungover through the entire film, just waiting for the next drink, the next nicotine high, the next roll of the dice. I’d almost want to live in this film if it wasn’t for all that cigarette smoke but I know Altman wouldn’t want to make it easy for me. MASH it ends when they’re thrust apart by greater forces, in THE LONG GOODBYE the pairing is destroyed by selfishness and in CALIFORNIA SPLIT it ends because it has to. There’s no way to keep going, much as we want that feeling of these guys singing “Rufus Rastus Johnson Brown” to go on forever. You may never be complete, but sometimes all you can do is spin the wheel and who the fuck knows. So please, Criterion or somebody, figure out those music rights and give us the whole thing on Blu. Until that happens, we may need someone to screen this film at least twice a year so we can get our fix. Because we need to be able to remember those people, the ones who have shouted “Fuck you!” at us the loudest. In some ways, being able to remember them is the only way to keep trying.
Sunday, March 5, 2017
THE MASTER was really looking into the faces Tarantino it’s all about those faces and the hatred behind them. KILL BILL: THE WHOLE BLOODY AFFAIR Blu that we’ve all stopped holding our breath for. But what’s a Tarantino mythology without footage being withheld from us, after all. THE THING and one from EXORCIST II: THE HERETIC in there—the brief use of HERETIC music is appreciated because that score is all-holy but it’s the tracks from THE THING which make the most sense here, almost becoming part of the text itself coming from another film set in the remote cold with Kurt Russell, another film where you can’t trust who you’re trapped with, making THE HATEFUL EIGHT in part a prolonged examination of that film from an alternate genre perspective or maybe just the western that John Carpenter never made. Like other Carpenter films it’s a story mostly set in one place trying to keep out a greater force only in this case it’s not just the blizzard (referred to as a ‘white hell’ which itself brings to mind THE WHITE HELL OF PITZ PALU, referenced in INGLOURIOUS BASTERDS—movie titles are part of the Tarantinoverse before movies are even invented) but the world itself with all the hatred and racism imaginable.